Theater professor Lee Devin, who co-authored the book Artful Making with Harvard Business School MBA Robert Austin, made a rather profound announcement in our Deep Dive session at the Agile Games.  He said, “It is important to distinguish among things. ”  The way we assign meaning certainly has some plasticity and is nuanced by a community’s culture.  However, we can only recognize the need to invent a new term if we start with clear definitions.

I incorrectly defined the term “neoteny” in the previous post.  It is not, as I reported “the ability/inclination to play into adulthood.”  Instead, it is “the retention of juvenile traits into adulthood,” of which playfulness may be one.  THANK YOU to Robert Marra, Phd, for the correction, now in the newly-edited version.

The study of the right use of words in language becomes super-important (wait – is that a word?) when:

a) engaging in cross-sector exchange; and/or

b) reaching for metaphor to illustrate an idea

No sense being fancy if it ain’t right!   Think I’ll pick up a copy of The Meaning of Meaning, by C. K. Ognen and I.A. Richards…

Takeaway from Day One of Agile Games at the Microsoft Center in Cambridge: for every problem to solve, there is a game to play.

Keynote speaker Michael Sahota addressed the power of play to unlock learning potential, boost motivation, and create a safe space for risk-taking where true transformation can take place, enabling lasting positive change.

So…LEGOs in the Board room?  Believe it or not – YES!  And Nerf Guns for the teams…and this is just the tip of an unbelievably enjoyable, self-organizing iceberg.

Play is an opt-in activity.  Unlike most other species, humans possess the ability/inclination to play throughout life, a neotenous characteristic.   The opposite of play is not work, it’s depression.  Work that is so satisfying that it invites deeper levels of engagement becomes a space  of play.  This is also a space of learning and flow.

Tastycupcakes.org is a site where you can find appropriate games.   Invite thought workers into this idea of work as play and you will get powerful results.

Artists and arts organizations – let’s gather some corresponding examples!  Games that invite deeper involvement with subject matter or with others…integration of play into processes for getting things done…Please email me at artsinterstices@gmail.com.

AI: What is a low-threat way to introduce teams to the concept of using negative judgment for a positive purpose to improve on a creative solution?

David Kord Murray: If people understand the 6 steps [to business innovation by building on the ideas of others, outlined in Borrowing Brilliance], then they become aware that judgment is good because it’s a tool you can use to make an idea better.  They understand the entire process, and they see the results.

In a team you can soften the blow of a negative judgment by saying, “let me play devil’s advocate with you…here’s what I don’t like about what you’re telling me…”

Of course, it’s also important to identify why you like an idea.  Reinforce why it’s worth improving.

When the IPhone first came out…Steve Jobs said, “it’s way too big, but I do like integrating ITunes.”  That’s why he was such a brilliant innovator, and became known so widely even beyond the software industry.  He was manic – up one moment and down the next.  Being that way naturally he would LOVE ideas one moment and the next day he would HATE it and rant on it.  He employed different points of view to evaluate the same subject.  Call it switching hats, if you will.  Edward DiBona describes a similar kind of process in his book Six Thinking Hats – two of the hats are positive and negative judgment.  You have to play both good cop and bad cop toward the idea you’re working with.

To take an example from my consulting work…I’m working with a company inRidgefield,CT.  It is facing some real problems, the whole industry is, and the company needs to develop more creative processes.  One of the problems is a passive/aggressive management that says “do this, don’t do that.”   In an atmosphere where ideas are either accepted or rejected whole cloth, the unspoken message is “don’t debate, don’t study the pros and cons.”   And the employees are taking it personally.

We are putting a program together to teach management that it has a core responsibility to keep ideas flowing.  To move ideas and features around and check incremental progress as you restructure takes a long time.  They can respond to an idea by speaking to both sides, the positive and the negative, and then send the employees back to the drawing board.  That’s how you’re going to get the kind of improvements that lead to true innovation happening.

Elm City Dance Collective…Cake Face…Scapegoat Garden…these are names in Connecticut’s regional dance ecology.  Look them up, enjoy them, support them, and/or find out who’s doing similar work in your own community.

http://elmcitydance.org/

http://cakefaceart.com/artwork/1452631_st_petersburg_times.html

http://www.scapegoatgarden.org/

It takes many layers of cooperation and commitment to bring a dance work from concept to concert.  Elm City Dance Collective did an exceptional job producing the recent REBOUND dance festival presented March 24, 2012 at ACES Performing Arts Center on Audubon Street in New Haven, CT.

Contemporary movement celebrates the relevance of human physicality in an age of dislocation and virtual connection. While more abstract choreographic vocabulary can be experienced as a form of sculpture with the added dimension of time, more folkloric forms such as  tap stand as a source of embodied history and cultural heritage.

The array of questions posed by a single dance piece to which one brings an open mind and an ounce of thoughtful attention is truly dizzying.   If you haven’t yet enjoyed this branch of the performing arts, do try and treat yourself soon.

Don’t worry if some of it is bewildering or you don’t know when to clap.   So much of adult life is learning how to negotiate awkwardness – dance performers and audiences find their way through these moments all the time.   They give us great examples of  how to do that, really.    And like Rilke says, we can “…try to love the questions themselves…”

AI: What are some striking examples of successful recombining at the corporate level? 

 

David Kord Murray :My latest book,Plan B (recently published by Simon & Schuster)  has to do with business models – strategy and tactics based on creative thinking tools and the process of recombination.  The overarching story is Facebook and how Mark Zuckerburg took different pieces of things that were already out there – instant messaging, the social media and community building happening on Myspace – he was brilliant at coming up with combinations of things.  Taking his company along for that journey and going through the evolutionary process, they got really good at it.

The businesses that succeed at this are constantly trying new things, always searching for next idea.   They don’t sit on their laurels.  If you do, you’re going to be copied by the next generation of innovators.  If you stay constantly innovating then the competitors can’t catch up, because you’re always ahead of the curve.

I was working with a health care company that was having problems in their ICU.  Employing the six steps to business innovation from Borrowing Brilliance, we defined the problem as one of coordinating the timing on an awful lot of moving parts that had to be working in close synchronization and precision, then we asked the important question: who has similar problems?

One of the answers that came up, believe it or not, was NASCAR.  So we brought in a NASCAR pitboss.  He explained his working process, and the health care company got a lot of ideas.  They had to work with them and tweak and make adjustments, but it’s all part of the process.  That’s how innovation works.

Part of my consulting is to teach teams how to do that.  Kaiser Permanente, GE, Paypal.  Sometimes it’s harder in the bigger companies, but it’s doable.

David Kord Murray graciously took time to speak with Arts Interstices about his work. The interview was published in a sequence of five blogposts in March-April 2012.

Because a new idea cannot be grafted onto a closed mind…

“I promise not to exclude from consideration any idea based on its source, but to consider ideas across schools and heritages in order to find the ones that best suit the current situation.”

http://alistair.cockburn.us/Oath+of+Non-Allegiance

The following Q&A with project management veteran Tom Gilb – known today as “Grandfather of the Agile movement,” has direct application to the world of arts funding, particularly as outcomes-based management  is catching on among grantmakers and showing up in their reporting requirements.   A statement he makes validates my assumption that there needs to be a shift from “grantwriting” per se to more of a project management-driven approach in an age of increased competition for project-based contributed income:

“So that is my lesson to stakeholders and project funders. Demand clear, quantified objectives before happily dispensing money.”

http://projectmanagement.atwork-network.com/2012/03/20/qa-tom-gilb-on-quantifying-project-objectives

Recent publications such as Mario Morino’s Leap of Reason make clear the connections between big thinking, fundability, creativity and survival in the coming years in the nonprofit sector.  So in that spirit, here are some questions for arts managers to consider.

  • At any given point, could a funder walk up to someone working in your box office or classroom or studio and say “tell me what you’re trying to accomplish this season with my money” ?
  • Have you integrated aspects of project management into your grantwriter’s set of responsibilities?
  • Is your grantwriter considered the “spinmaster” in your organization?
  • Do some of your staff seem resentful of having to “kowtow to funders”?
  • Are grantwriters included in long-range programming and brainstorming meetings?
  • Are programming staff assigned to write portions of your final reports?

The arts should stay ahead of this curve – it’s where we belong!

“Sponsored by Agile New England, Agile Games 2012 is an Agile Conference devoted to the serious play, collaboration, and experimental learning that power Agile software development. Agile Games 2012 will be held April 19-21, 2012 at the Microsoft NERD Center in Cambridge, MA.”

Full schedule available at http://www.agilegames2012.com/index.php/conf-info/51-programannounced

I cannot WAIT to attend and report back to the arts community!

Agile New England  is hosting an annual conference called Agile Games in Boston April 19-21, 2012.  One of the main speakers will discuss how the software industry needs to function more like theater, planning its product line-ups and releases more in sync with its “audience” tastes and capacity for engagement!

This is an exciting moment, when the start-up business world is looking at the arts world to borrow ideas and refine its practices.   In looking to transform the world of work,  Agile proponents understand that being people-centric makes exceptionally good business sense.  Deep symbiosis between the maker of a product and its user will create better “fit,” better value and, it is hoped, a better world!

Please stay tuned for updates on my plans to cover the Agile Games for the arts community.   It should be a rich conversation, and I hope you will be inspired to be a part of it.

Arts Interstices interviewed creative thinking  strategist David Kord Murray,  author of the highly acclaimed Borrowing Brilliance.  His latest book Plan B was recently published by Simon and Schuster.

AI: Can you describe the basic process of creative thinking as you’ve come to understand it?

DKM: The process as I describe it in Borrowing Brilliance is an evolutionary one.  It has to do with making incremental improvements onto existing ideas that are already out in the universe.  You take an idea and work with it and figure out how to do it better.  The cover of the book shows a candle shifting in stages to an incandescent bulb to a fluorescent bulb.  A business innovation doesn’t come out of nowhere.  It gets built onto the ideas of others.  But it takes a long time, sometimes years of study and improvement.  It’s an investment in finding the right combinations and testing them out.

You can consciously put yourself on certain paths.  The key is how you define whatever problem you’re solving.  That is actually the first step, defining the problem.

Then you look outside your field.  Look around to other fields, other areas of expertise and see how people are solving similar problems.  That’s where you go to gather materials for your new creative solution.

AI: What in your view is the problem with most brainstorming meetings?

DKM: I’m okay with the brainstorming meeting per se as a part of the process.  But the problem is that it’s missing a very important element, and that is judgment, specifically negative judgment.

Negative judgment is the driver of your ideas.  A creative solution doesn’t often pop out fully formed and good.  If it does you’re rare and extremely lucky.

The reality is ideas take a lot of work to improve.  You have to keep going through and pushing and making the enhancements and adjusting.  First you use judgment to say what elements work and you want to keep, then you identify which elements are detracting from the overall solution.  You try to fix those by eliminating the negatives, recombining with other models, other ideas.  You need to be patient.

Companies that succeed also stumble all the time.  They make mistakes.

NEXT WEEK: Models of successful recombining.